Dance music is on the rise these days.
Singles classified as dance by the Official Charts Company have been number one for 11 of the past 16 weeks. The top 40 followers will know that included eight weeks for LF System’s Afraid To Feel smash – the biggest single of Q3 and with sales to date of 826,614 (Official Charts Company), as well as two weeks for BOTA (Baddest Of Them All) by Eliza Rose and Interplanetary System.
After spending a week at the top, I am good (blue) by David Guetta & Bebe Rexha is still No. 2 in the latest Top 10. He is joined by dance track Miss You by Oliver Tree & Robin Schulz, which moved on 28-9.
The electronic music industry has just come together for the Amsterdam Dance Event, which has been an opportunity for DJs and executives to reflect on the success of the genre. Alongside performances by stars such as Oliver Heldens at the Melkweg site (pictured), the conference’s busy schedule covered issues such as women’s entrepreneurship, the metaverse, games, Web3Youtube, ICT Tac and how to break America.
In the latest issue of music weekwe reveal the data behind the dance music streaming boom, plus insights from executives including Warner Records’ A&R head Anton Powers (who signed LF System and co-signed Eliza Rose). We also hear from Atlantic Promotions supremo Damian Christian on Fred Again..who releases a new album on Friday October 28th.
Based on music week analysiswe can confirm that the surge in streaming has been unleashed during the pandemic with dance music consumption up 14.8% year-over-year in 2021.
Importantly, this consumption growth has continued to progress in 2022, after the end of the Covid restrictions last year. Music Week may reveal that through the end of the third quarter, streaming for dance music is up 7.4% year-on-year so far in 2022 – ahead of the overall market growth rate of 6.4% streaming.
The genre was further bolstered by big names such as Drake and Beyonce embracing dance music. In terms of sales, Beyonce’s Renaissance was the biggest album released in the third quarter (90,029 sales to date) and included lead single Break My Soul, which is classified as dance by the OCC.
Of course, dance hits find a receptive audience in the summer. With the living businesses particularly affected by inflationelectronic music is now prepared for the effects of the cost of living crisis.
Fallen CEO Wez Saunders is clearly confident about the prospects of the genre, having just acquired the company. Here, music week asks Saunders about the prospects for dance music…
Dance music is streaming heavily in 2022 and the genre has produced No. 1 singles alongside club hits. In your opinion, what explains the success of the genre this year?
“Dance music – especially house and disco – has been a cultural movement since its inception. Emerging from the underground with a grassroots community comprised primarily of LGBTQ+, African American, and Latino communities, house music has always brought people together on the dance floor through upbeat, energetic, and positive beats. It’s no surprise that in a time when the world needs hope, dance music shines.
It’s no surprise that in a time when the world needs hope, dance music shines through
Now that we’re out of summer and festivals/events, what’s the outlook for dance music in 2022/23 – how can it build on success without the seasonal boost?
“2022 has been a challenge for many. We hosted newly arrived 18-year-olds for three years, who entered a world of rising prices, endless opportunities and limited incomes. I think the post-pandemic boom of summer 2021 saw an upsurge in events, which unfortunately came just before a period of price increase and as such, many event brands have struggled. We have seen ticketing companies fail, and the ripple effect has been detrimental for many.
“Brexit meant that British workers were at a 30-year low in Ibiza, and the world globally finds its bearings. I like to believe that we have all learned valuable lessons in 2022, and as such, we will no doubt build on those learnings. I expect prices to start to stabilize somewhat and hope the UK and EU come closer to a deal that will help young people to work abroad next summer.
How will Defected further tap into this growing dance market?
“Our fans and artists are at the center of everything we do. DefectiveThe mission of is to serve our community while helping artists build more sustainable, impactful and profitable careers. Our virtual festivals in 2020 allowed us to further identify the breadth of our fan base. As such, it is imperative that we continue to serve these people physically through physical events and products, digitally through streaming, through our new app, and through online activities such as Faulty broadcasting house – and possibly within Web3. We will look to offer new opportunities and experiences in the US, South America and Australia, whilst remaining consistent with our UK and European offerings.
To what extent is the growing popularity of dance music driving the demand for remixes? Have you noticed a trend of increasing number of remixes of a hot track?
“Remixes Hot tracks have always been made to maintain momentum or introduce the record to new audiences. Once a track has achieved this commercial appeal, there will be a desire to keep it in the record boxes of underground club DJs. Maybe it’s getting hot in the house lane, but you want to introduce it to disco, techno, or drum & bass fans. Maybe the record is huge in Western Europe, but you’re looking for that North American appeal. We now have so much access to data, that I think as the storylines on priority records grow, there’s a desire to help reach new audiences – and with that, an increase in remixes. It’s been really interesting to see ‘the remix’ expand beyond house music lately.
Subscribers can read the big dance music story from our latest issue here.
And click here for our interview with Eliza Rose.
PHOTO: Enrique Meesters